They are your audience, the people reading your direct mail, visiting your website, or following you on social media. 17 O. von Simson, Sacred Fortress: Byzantine Art and Statecraft in Ravenna (Princeton: Princeton University Press, 1987), 24. An image such as this, showing both ownership and royal power, relates strongly to imperial iconography in general, and a comparison between these portraits and some of the key images in the imperial repertoire proves highly illuminating. However, there are also other elements in the image that militate against it being defined as a true donor portrait. Until the Reformation, paintings could be found only in churches and parishes. It is not to establish a relationship with an all-powerful Christ whose aid one desperately seeks at the most critical hour, but to impress the observer with their authority. To do so would be to show him as less than the powerful force he wishes to be taken for. Although there is a superficial resemblance between ktetor portraits and donor contact portraits, this classification makes evident that, at their core, they are very different, precisely in terms of their relationship to the holy figures. "useRatesEcommerce": false The Justinian scene might, indeed, have looked as though it was only half done. Figure 1.20: Supplicant John led by the Virgin Mary, Gospels, Iveron Monastery, Mount Athos, ms. 5, fol. Once youve collected your data, you need to use it. It shouldnt, because Gwendolyn Giver never existed. [29], A further secular development was the portrait histori, where groups of portrait sitters posed as historical or mythological figures. In Italy donors, or owners, were rarely depicted as the major religious figures, but in the courts of Northern Europe there are several examples of this in the late 15th and early 16th centuries, mostly in small panels not for public viewing. E. Childs (New York: Praeger, 1967), 5658. The representation of Hadrians sacrifice operates in what might be called realist mode, restricting itself to a description of a ceremony such as it might have been seen to take place in the world at a particular moment in time. The book that Alexios holds is clearly open, the top edges of the left- and right-hand sides forming a v-shape starting at the spine. Nicolas Rgnier: Self-Portrait with a Portrait on an Easel. Depicting himself in a forward-facing position, Drer broke. Their purpose is fundamentally different. These images share some elements of the contact-laden donation of Theodore, but ultimately have more in common with coronation iconography. Total loading time: 0 The panel is also the subject of a study by E. Dimitriadou, The Lunette Mosaic in the Southwest Vestibule of Hagia Sophia at Constantinople: A Reconsideration, Ph.D. thesis, Courtauld Institute of Art (2010). in Power flows from the highest point, and infuses the recipient with status. Instead, the scenes adopt some of the same vocabulary that makes the coronations successful: the emperor is upright, frontal, dignified, authoritative, and, not least, bathing in the glow of Christs blessing. Has data issue: false While any kind of art can be studied within cultural psychology, in the current piece we argue that an art form known as the donor portrait, and more particularly a subcategory thereof known as the contact portrait, visually depicts core aspects of our psychological lives that constitute matters of . On the one hand, the scenes wish to derive what may be called a piety dividend for the emperor he undertakes works for the benefit of the Church, and plays his part in propagating holiness through the construction of holy edifices. This we see as the huntsman forthrightly thrusts the hare forward in a gesture that foreshadows something of the deliberateness with which Byzantine donors make their offerings as well. A very late example of the old Netherlandish format of the triptych with the donors on the wing panels is Rubens' Rockox Triptych of 161315, once in a church over the tombstone of the donors and now in the Royal Museum of Fine Arts, Antwerp. At the heart of the image is the same urgent desire for contact with the holy figure that Theodore makes manifest. gr. The Oxford Dictionary of the Renaissance , Subjects: This revisionist classification system, distinguishing between contact portraits and its component subgroups on the one hand, and ktetor portraits on the other, has several benefits. New York: The Metropolitan Museum of Art, 2000. 1.23).Footnote 33 Diminutive worshipers on the right side of the image bring a goat to an altar; on the left side, in larger scale, are placed the gods (only the lower legs and hands of Asklepios are still visible), represented as being very much alive. Access software lets you work the way you want, giving your organisation the power to thrive and grow, The Access Group appoints new Chief Marketing Officer, Access announces expansion with new offices in Romania and Ireland, Swansea named best location in the UK for hybrid workers, The Access Group acquires ClassForKids and enters the kids club software market, Young people and low-income workers risk being left behind by hybrid working, new research finds, Access PaySuite strengthens payments offering with the acquisition of Pay360. Facing the viewer head-on, the painter depicted himself in a pose that up until that point had been reserved exclusively for Christ. This study focuses primarily on donor portraits of families found in Cypriot wall paintings and icons created during the Lusignan and Venetian periods. 38 O. Demus, The Mosaics of Norman Sicily (London: Routledge & Kegan Paul, 1949), 82; E. Kitzinger, The Mosaics of St Marys of the Admiral in Palermo (Washington: Dumbarton Oaks, 1990), especially 10506 and 197206. Contact portraits themselves have a long history. The imperial ktetor portrait is a muted or mitigated form of the full imperial image. Figure 1.24: King Jehu before Shalmanesser III, Black Obelisk of Shalmanesser III, British Museum, London, c. 740 BC. The scene is, in fact, not a donor portrait at all. [16], A particular convention in illuminated manuscripts was the "presentation portrait", where the manuscript began with a figure, often kneeling, presenting the manuscript to its owner, or sometimes the owner commissioning the book. [14] The Wilton Diptych of Richard II of England was a forerunner of these. 1 See the relevant entries in H. G. Liddel and R. Scott, A GreekEnglish Lexicon (Oxford: Oxford University Press, 1996); G. W. H. Lampe (ed. An activity is undertaken for the salvation of the soul, and an interaction, a communication with another being, a supernatural one, no less, is begun. Chapter. Especially popular became the sub-genre of group portraits. In a true contact portrait, however, whether showing a donation or not, the narrative subject of the image, the lay figure, has no power coursing through his body. There is an intensity in his interaction with the holy figure that is entirely absent from the Dragutin and Oliver scenes. [4] To do so during prayer is in accord with late medieval concepts of prayer, fully developed by the Modern Devotion. Figure 1.22: Huntsman offering a hare to Artemis, floor mosaic in Constantinian Villa, Antioch, mid-fourth century AD, now in Louvre Museum, Paris. In addition to recording appearances, portraits served a variety of social and practical functions in Renaissance and Baroque Europe. To round out this examination of the chief characteristics of contact portraits, a further remarkable feature deserves comment. Hans Memlings portraits of Tommaso and Maria Portinari (14.40.626-27), painted around 1470, were also probably meant to flank the image of a saint in a small triptych, yet each likeness fills a whole panel and has the emphasis of a portrait in its own right. Fols. Finally, to portray oneself consorting with divine figures is to demonstrate the elevated company that one keeps, and not all in society could afford to represent themselves in this way.Footnote 11. 28 On presentation scenes, see H. Frankfort, Cylinder Seals: A Documentary Essay on the Art and Religion of the Ancient Near East (London: Macmillan, 1939), 7475. Whenever the development takes place, however, it certainly opens a new chapter of immediacy and intensity in the contact between the lay and holy figures in the images. He is by some margin the largest figure in the scene, and he sits frontally. In neither of the pictures just discussed, then, the Alexios and the Justinian and Constantine scenes, are the imperial images to be taken as true contact portraits, despite first appearances to the contrary. What, exactly, is the iconographic type known as the donor portrait? [3] To do so during prayer is in accord with late medieval concepts of prayer, fully developed by the Modern Devotion. A portrait was often commissioned at a significant moment in someones life, such as betrothal, marriage, or elevation to an office. 1.1).Footnote 2 The second shows the despot Oliver, in the Church of the Holy Archangels at Lesnovo, FYR Macedonia, from 1341 (Fig. All show a similar range of concerns to the ones seen above. West, Shearer. Imperial iconography, of course, has as its core purpose the assertion of imperial authority and privilege. Being both non-imperial and primarily religious, they do not have to occupy themselves with the difficult issue of the balance between power centers in the image. They are your audience, the people reading your direct mail, visiting your website, or following you on social media. If the donor term has connotations of generosity and open-spiritedness not shared by its counterpart, it is also more spiritual and religious. Another variant of these scenes that finds its echo in Byzantine examples is the presentation scene, where a lesser deity leads one or more worshipers toward a higher deity.Footnote 28 In a further Akkadian seal, also in the Ashmolean Museum, we find a god seated on the right-hand side, approached by two deities (indicated by their horned headpieces) on the left. The traditions of portraiture in the West extend back to antiquity and particularly to ancient Greece and Rome, where lifelike depictions of distinguished men and women appeared in sculpture and on coins. Hostname: page-component-75b8448494-jf2r5 It should be stressed that this taxonomy is not conclusive and definitive. II, 873. [8], At least in Northern Italy, as well as the grand altarpieces and frescos by leading masters that attract most art-historical attention, there was a more numerous group of small frescoes with a single saint and donor on side-walls, that were liable to be re-painted as soon as the number of candles lit before them fell off, or a wealthy donor needed the space for a large fresco-cycle, as portrayed in a 15th-century tale from Italy:[9], And going around with the master mason, examining which figures to leave and which to destroy, the priest spotted a Saint Anthony and said: 'Save this one.' The chief contention of the first section of this chapter is that not all the scenes commonly included in the designation belong there. Although none have survived, there is literary evidence of donor portraits in small chapels from the Early Christian period,[11] probably continuing the traditions of pagan temples. 666 in the Biblioteca Apostolica Vaticana, of around 1120. Figure 1.23: Worshipers bring a goat to an altar to sacrifice to Hygieia and Asklepios, National Archaeological Museum, Athens, shortly after 350 BC. Raphaels widely imitated portrait of Baldassare Castiglione (ca. There also existed a strong tradition for . The gesture signifies an aggrandizing flow of power from the dominant force in the universe to his designated beneficiaries.Footnote 8. The Mosaics of the Southern Vestibule, Gifts and Prayers: The Visualization of Gift-Giving in Byzantium and the Mosaics at Hagia Sophia, The Languages of Gift in the Early Middle Ages, Architecture and Ornamental Mosaics in the South Vestibule of St Sophia at Istanbul: The Secret Door of the Patriarchate and the Imperial Entrance to the Great Church, Sacred Fortress: Byzantine Art and Statecraft in Ravenna, Writing in Gold: Byzantine Society and its Icons, The Monastery of Saint Catherine at Mount Sinai: The Icons, Byzantium in the Iconoclast Period (ca. Before deciding on this, however, let us return to our starting point in the way various modern languages know these images. I always discover myself and develop to become better, than I was yesterday. Portrait of a Female Donor, c. 1455 Not on View Medium oil on panel Dimensions overall: 41.8 x 21.6 cm (16 7/16 x 8 1/2 in.) The five children holding crosses had died; the two in black-trimmed white garments apparently before the painting was done, on the others the crosses were probably added later. If the Dragutin and Oliver portraits, in their attempts to cross traditional imperial iconography with donor portrait forms, end up looking more regal than humble, the Hagia Sophia panels aim more for the middle ground. Groups of members of confraternities, sometimes with their wives, are also found. 6th-century donor portrait of Anicia Juliana, the Byzantine princess who commissioned the illuminated manuscript known as the Vienna Dioscurides. gr. Each language group applies its term, blanket-fashion, to all of the images. To save this book to your Kindle, first ensure coreplatform@cambridge.org Master of Vy Brod, a Bohemian master, ca. If you dont know who they are (yes, there can be more than one segment or portrait) you are fundraising in the dark. It is this difference in the way in which the direction of the narrative and direction of power flow run either against each other or coincide with each other that determines whether an image is a true or quasi donor portrait. 0.1), each scene has its own temper and atmosphere. Can you see a picture forming, an outline of your typical donor? Donor portraits are depictions of the person/s commissioning the painting that actually feature within the painting themselves. In this respect, both the Antioch mosaic and the Byzantine images can be contrasted to the standard Roman scene. The message that emerges is that just as Constantine engaged in a great public work for the benefit of the citizens of the city, so too did Justinian. The position is located in either Kyiv or Uzhgorod. Not sure if youve got the right information to work with? [2] Gifts to the church of buildings, altarpieces, or large areas of stained glass were often accompanied by a bequest or condition that masses for the donor be said in perpetuity, and portraits of the persons concerned were thought to encourage prayers on their behalf during these, and at other times. This change reflected a new growth of interest in everyday life and individual identity as well as a revival of Greco-Roman custom. Rulers were the only individuals considered worthy of being immortalized on canvas. Rutgers the State University of New Jersey October 1619, 2008: Abstracts (n.p. You need to get to know your donors and create your own donor profiles so that when youre designing your next campaign you know exactly who youre talking to. Yet even the most cursory of comparisons will reveal that neither does it show ownership or possession in anything like the same fashion as the Oliver representation does. Theodore, for example, leans forward imploringly, his brow knitted in consternation, as Christ remains sealed within his own energy field. The most relevant distinction to draw in terms of iconography, then, concerns not whether a donation is or is not shown, but whether there is deep personal contact between the lay and holy figures. Even within the broad parameters that all the scenes adhere to, an enormous amount of variation is still visible between them, almost every one having a distinct mood and feeling. Let us reserve ktetor and ktetor portraits for the former group, and supplicant and contact portraits for the latter. Further, the central block has considerable visual mass, as the enthroned Christ and the personifications of Justice and Mercy who whisper the virtues of the emperors in his ears occupy more surface area than either of the two solitary figures beneath. People are complicated, and donors are no different. She is an average, a stereotype that has no place in your fundraising strategy. Yet, against this imposing group, the emperors hold their own. 1.2) is certainly pious, just as Theodore (Fig. Once we have better defined the category as a whole, we will turn our attention to its chief characteristics, its emergence and development within Byzantine art, and an overview of the scholarship on the subject. As you start to find the basic shape, dig into the details and look for commonalities across your supporter base. 666), Thirty-Fourth Annual Byzantine Studies Conference. But over time you will build not one, but a series of donor portraits a data-driven analysis of your audience and a deeper understanding of the people that give to your cause. Also in Ravenna, there is a small mosaic of Justinian, possibly originally of Theoderic the Great in the Basilica of Sant'Apollinare Nuovo. A mid-fourth-century scene from a floor mosaic of the Constantinian Villa at Antioch, however, marks a decisive step in the transition from the standard Roman sacrifice representation to the Byzantine donor portrait (Fig. It is stiff and awkward as it teeters on the brink of showing a true interaction, but cannot quite allow itself to go that far, as it also attempts to maintain the traditional display of royal power. These were derived from frescoes by Pellegrino Tibaldi a century early, which use the same conceit. All others are ninth century or later. 10 For more on this, and on the interrelationship between these scenes and other imperial images in the same church see Hillsdale, Byzantine Art and Diplomacy, 47. See also J. Elsner, Art and the Roman Viewer (Cambridge: Cambridge University Press, 1995), 177210, on the processional aspect of both the San Vitale panels and the Ara Pacis. Collecting the data* you need to create your donor portrait. On the right stands Alexios, facing back toward the Fathers and also to a diminutive figure of Christ, who appears above him and to his left, making a blessing gesture (Fig. A painting in the Catacombs of Commodilla of 528 shows a throned Virgin and Child flanked by two saints, with Turtura, a female donor, in front of the left hand saint, who has his hand on her shoulder; very similar compositions were being produced a millennium later. The illustrations that appear immediately prior to this scene in the manuscript elaborate on and confirm this interpretation. The hand in the book confers an air of learned nonchalance on sitters both like and unlike Bronzinos fashionable young man: it occurs, for instance, in Titians sensitive portrait of the aged archbishop Filippo Archinto, painted in the 1550s (14.40.650). For the imperial scenes see also Spatharakis, Portrait, 12229, and P. Magdalino and R. Nelson, The Emperor in Byzantine Art of the Twelfth Century, Byzantinische Forschungen 8 (1982): 12384, at 14951. Small donor with enthroned Madonna and Child, ca 1335, Giovanni di Paolo's Crucifixion with donor Jacopo di Bartolomeo, named in the inscription and with his coat of arms at left. Contact us to set up your personalized demo today! History 1v, c. 112550, Fig. ), Antioch Mosaics (Istanbul: A Turizm Yaynlar, 2000), 20204. Chapter. 1.9). Market research:If you dont know much about your donors, there is no harm in asking. A. Godley, Loeb Clasical Library 117 (Cambridge, MA: Harvard University Press, 1981), 1:134. One of the reasons for this is the introduction of proskynesis into the scene. The link was not copied. In medieval art, donors were frequently portrayed in the altarpieces or wall paintings that they commissioned, and in the fifteenth century painters began to depict such donors with distinctive features presumably studied from life. 370. Their scale and composition are alone among large-scale survivals. Before the 15th century a physical likeness may not have often been attempted, or achieved; the individuals depicted may in any case often not have been available to the artist, or even alive. 1v, c. 1120. Throughout Byzantine history, a steady stream of pictures in manuscripts, mosaics, ivories, and coins proclaimed the supreme rank of the emperor, and declared his almost-godly standing.Footnote 6 The clearest statement of this is to be found in the numerous divine coronations emanating from the royal palace in Constantinople. The hand on hip frequently appears in portraits of rulers or would-be rulers, as in Van Dycks splendid likeness of James Stuart, painted around 1635 (89.15.16). This dedication, however, does not automatically convert the scene into one of personal acts of piety for which the emperors are seeking forgiveness of personal sins. An example of this can be seen in Assyrian art, on the Black Obelisk of around 740 BC, where the subject King Jehu of the Israelites is shown prostrate before King Shalmanesser III (British Museum, London, Fig. : Byzantine Studies Association of North America, 2008). 19v, Fig. Yet even here, the Byzantine gesture can be more extreme. On the one hand, these variations are rendered possible because these portraits of lay figures do not have to adhere to the rules governing the representation of holy figures in their eternal truth. V, no 213. Giotto di Bondone From: donor portrait in The Oxford Dictionary of the Renaissance Subjects: History Early Modern History (1500 to 1700) Reference entries These are a great place to start, and if you want to dig deeper theres no shortage of online platforms or providers that can offer a deep-dive into your analytics. Ongoing data capture:It might sound obvious, but to collect data, you need to plan for it. What the author is interested in is the bigger picture: the ways in which 'donor portraits' can lead to an understanding of the ways in which the Byzantine world operated, its systems, structures and values. Significantly, one of the key iconographic differences already mentioned, concerning whether the supplicant appears with or without an offering, is already in place. ), Das byzantinische Herrscherbild (Darmstadt: Wissenschaftliche Buchgesellschaft, 1975), and H. Maguire (ed. It should be easy for someone to manage and withdraw their consent at any point, and you should be prepared to exclude and delete information if you do not have the permission you need. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. It is often passionate and exaggerated, leaving little doubt that the physical exertions required to enter the position could only be motivated by the most powerful feelings toward the figure being adored. Early Netherlandish painters, bridging the gap between the Middle Ages and the Renaissance, introduced a number of features we take for granted today. More immediate forerunners of our portraits are also be found in the scenes of sacrificial offerings in ancient Greece and Rome. The Literal, the Symbolic, and the Contact Portrait: On Belief in the Interaction between Human and Divine. Gradually these traditions worked their way down the social scale, especially in illuminated manuscripts, where they are often owner portraits, as the manuscripts were retained for use by the person commissioning them. 0.1, at first sight they all seem to belong within one of the categories suggested earlier, that of the gift-bearing scenes. Find out more about saving content to Google Drive. Donors give for many reasons, but donors stop giving for primarily one reason; they don't know how their gift is being used. 1.25).Footnote 37. See also S. Kalopissi-Verti, The Peasant as Donor (13th14th Centuries), in J.-M. Spieser and E. Yota (eds. Gr. These scenes, however, are not the only ones demonstrating the overlapping concerns of the worldly and the spiritual. In Florence, where there was already a tradition of including portraits of city notables in crowd scenes (mentioned by Leon Battista Alberti), the Procession of the Magi by Benozzo Gozzoli (145961), which admittedly was in the private chapel of the Palazzo Medici, is dominated by the glamorous procession containing more portraits of the Medici and their allies than can now be identified. Central Europe (including Germany), 14001600 A.D. Central Europe (including Germany), 16001800 A.D. Eastern Europe and Scandinavia, 14001600 A.D. Eastern Europe and Scandinavia, 16001800 A.D. Florence and Central Italy, 14001600 A.D. Florence and Central Italy, 16001800 A.D. Great Britain and Ireland, 14001600 A.D. Great Britain and Ireland, 16001800 A.D. Venice and Northern Italy, 14001600 A.D. Venice and Northern Italy, 16001800 A.D. 82nd & Fifth: Tipping Point by Stijn Alsteens, The Artist Project: Il Lee on Rembrandt van Rijns portraits, The Artist Project: Julie Mehretu on Velzquezs, The Artist Project: Liliana Porter on Jacomettos, The Artist Project: Nina Katchadourian on Early Netherlandish portraiture, The Artist Project: Paul Tazewell on Anthony van Dycks portraits.
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